Sunday, September 18, 2005

San Francisco police have recovered a laptop stolen on March 11 from the University of California, Berkeley. The laptop was left unattended in the Graduate Division and contained personal information on 98,369 graduate students and applicants going as far back as 1976. This information included names, birth dates, addresses, and Social Security numbers.

The Silicon Valley forensic lab which analyzed the laptop said it had been reformatted, making it very difficult to determine if the data had been accessed. “There’s nothing in the Police Department investigation that points to any type of identity theft or credit card theft” said university spokeswoman Janet Gilmore.

The laptop was stolen by an unknown woman, who sold it to Shuki Alburati, who sold the laptop to an unsuspecting South Carolina man. Shuki Alburati was arrested on June 8 for receiving stolen property; he has been charged with one misdemeanor count.

He claims he didn’t know the laptop, a new IBM X40 worth $2,429, was stolen. He purchased the laptop from the woman, who said it wasn’t stolen, for $300 or $340. A few days later, on April 19, he placed the laptop on eBay. The winning bidder was a man in South Carolina who bought the laptop for $1,195.50. Police have said this man is not a suspect. Police were alerted by IBM after the man called IBM for tech support.

Shuki Alburati has pleaded not guilty. He claimed “It’s unfair, I didn’t know it was stolen.” His trial is scheduled for Sept. 30 before Superior Court Judge Michael Gaffey in Oakland. The woman who stole the laptop has not yet been found.

Saturday, May 24, 2008

Thailand’s National Film Archive in Salaya, Nakhon Pathom unveiled a new museum and cinema on Thursday night for the 100th anniversary celebration of the birth of Rattana Pestjoni, a filmmaker who is considered the “father of contemporary Thai cinema”.

With Pestonji’s family, movie stars, filmmakers, government officials and fans on hand, the National Film Archive’s museum was opened for tours, and the facility’s 120-seat cinema hosted the screening of a documentary film, Signature: The Life and Work of R.D. Pestonji.

Pestonji was born in Bangkok on May 22, 1908, to a Parsi-Indian (ethnic Persian) family. For his first short film, Tang, in 1937, he received an award from Alfred Hitchcock at a film festival in Scotland. Pestonji directed his first feature film, Dear Dolly, in 1951. He was known for his skills as a cinematographer, and he shot the first Thai feature film to be submitted to an overseas film festival. Pestonji also pushed for innovations in the Thai film industry, such as using 35mm film, and raising the level of cinematography as an artistic element of the films, said film historian Dome Sukwong, director of the National Film Archive.

The now-lost Santi-Weena was submitted to the Asia-Pacific Film Festival in 1954 in Tokyo. Pestonji served as cinematographer on it as well as Forever Yours, in 1955. He then directed four features, Country Hotel in 1957, Dark Heaven in 1958, Black Silk in 1961, and Sugar Is Not Sweet in 1964. His films were never box-office successes, which led to Pestonji retiring from feature-film work to make television commercials, Sukwong said.

Pestonji died of a heart attack on August 17, 1970 at the Montien Hotel Bangkok, while giving a speech to government officials and film industry executives about the prevalence of Hollywood films in Thailand’s cinemas.

Contemporary directors who were influenced by Pestonji include Wisit Sasanatieng and Pen-ek Ratanaruang (Last Life in the Universe). Sasanatieng was among the filmmakers present at Thursday’s event.

“Prae Dum [Black Silk] is the film that remains my single major influence,” Sasanatieng was quoted as saying by the Bangkok Post. Sasanatieng’s colorful features, Tears of the Black Tiger and Citizen Dog bear many of the hallmarks of Pestonji’s films. “Khun Ratana was not simply a master storyteller … he knew how to use color, art direction and camera angles to create subtle nuances and charge the movie with strong emotions.”

Pestonji’s sons, Santa and Edel, have continued in the film business. The Bangkok film production house their father started now houses a firm that hires out equipment and film crews to foreign films shooting on location in Thailand. Films that the company has been involved with include Heaven & Earth and The Beach. Pestonji’s daughter, Ratanavadi Ratanabhand, was the lead actress in 1961’s Black Silk.

The Pestonji centennial celebration was the first major event held in the new facilities at the National Film Archive, which moved around 10 years ago to the Fine Arts Department compound in Nakhon Pathom Province, about 50 kilometers from Bangkok, where the archive had been previously located. The museum and cinema complex were built in the last year, and Thursday’s event was the first major function held at the facility, said Chalida Uabumrungjit of the Thai Film Foundation, which has worked closely with the National Film Archive to preserve Pestonji’s legacy. The foundation holds the rights to Pestonji’s films and plans to issue a DVD set of his works later this year.

The centerpiece of the archive’s museum is a wax figure of Pestonji, seated with his prized Mitchell camera in front of a recreation of the set from his 1957 musical comedy Country Hotel.

In a manner similar to Grauman’s Chinese Theatre in Hollywood, handprints, footprints and signatures of celebrities are being collected in the concrete outside the museum’s cinema. That initiative started on Thursday with actor Prompong Nopparit, a spokesman for the Ministry of Culture, being the first to make his marks.

Other stars making impressions included actor Suthep Wongkamheng, who starred in Pestonji’s Dark Heaven. A rain storm dampened the festivities, but didn’t keep 1970s action star Sombat Metanee from making his mark in the slab, albeit under cover of umbrellas. Other figures adding their marks to the wet cement were pioneering animator Payut Ngaokrachang and Santa Pestonji, Ratana’s eldest son.

Wednesday, April 11, 2007

A fast-moving fire engulfed the home of late singer Johnny Cash on Tuesday. The lake-side home, located in Hendersonville, Tennessee, was the home of the late singer and his wife, June Carter, from the late 1960s until their deaths in 2003.

The home was purchased by former Bee Gees singer Barry Gibb in 2006, and was undergoing renovations at the time. The cause of the fire is unknown at this time, but it is believed that a flammable wood preservative that construction workers had applied contributed to the speed in which the flames spread. Firefighters responded within 5 minutes of the fire breaking out. No workers were killed in the fire, but one firefighter suffered minor injuries.

“Maybe it’s the good Lord’s way to make sure that it was only Johnny’s house,” said Richard Sterban of The Oak Ridge Boys, who lived down the road from Cash. Neighbor Marty Stewart said “So many prominent things and prominent people in American history took place in that house—everyone from Billy Graham to Bob Dylan went into that house.” The home was where Cash wrote many of his hit songs, and appeared in the Cash music video for “Hurt“.

Friday, February 3, 2006

The publishing of a series of cartoons of the Prophet Mohammad in a Copenhagen newspaper sparked a string of harsh and in some places violent reactions in the Middle East, forcing European leaders to try to calm the situation.

This backlash started in late September 2005, when the Danish newspaper Jyllands-Posten published a dozen cartoons depicting the Prophet Mohammad. The images ranged from serious to comical in nature; a particularly controversial cartoon portrays Mohammad with a bomb wrapped in his turban. The Jutland-based newspaper states that the images were meant to inspire some level of public debate over the image of Islam in Europe, and had no direct aim of offending anyone.

However, many Muslims follow the doctrine of aniconism concerning the portrayal of Mohammad. This tenet of Islam states that the Prophet Mohammad should not be depicted in any type of art, regardless of the intent of the piece. This belief, along with the potentially insensitive nature of some of the caricatures, have caused offense to many Muslims in the Arab world.

In the past month, the controversy over these cartoons escalated. The cartoons were re-published last month in Spain, Italy, Germany, France and the Netherlands (where the latter two nations have large Muslim populations), and have begun to re-circulate throughout the Middle East.

Many Danish companies have been targeted for boycotts. As Wikinews reported last week, Arla Foods, Denmark’s top dairy company, has seen their sales fall to zero in some Middle East nations. Carrefour, a French retail chain, has pulled all Danish products from its shelves in the region. Earlier this week, protests were held throughout the region, including the Gaza Strip in Jerusalem, where Hamas supporters led an assault and protest that surrounded the European Union offices for Israel.

Hamas members, some armed with guns, stormed the EU office (which is primarily staffed by Arabs) and demanded apologies from EU member states, saying they would otherwise face serious consequences. “It will be a suitable reaction, and it won’t be predictable,” said Abu Hafss, a member of the Al Quds Brigade (an affiliate of the group Islamic Jihad), in a press conference outside the EU offices. And the Abu al-Reesh Brigades, a group related to the late Yassir Arafat’s Fatah party, warned that EU member states had 10 hours to apologize for the cartoons or their citizens would be “in danger”.

Jamila Al Shanty, a newly elected Hamas legislator, stated that more rallies will be planned in protest of the cartoons. “We are angry – very, very, very angry,” Al Shanty said today, adding that “No one can say a bad word about our prophet.”

The Iranian newspaper Hamshari daily has stated that on February 8 it will publish anti-semitic cartoons in response to the Danish cartoons, apparently failing to notice that Denmark has only a tiny Jewish population, since most escaped to Sweden during the World War II Holocaust. The newspaper says that the cartoons will lampoon the Holocaust despite denials by the Iranian government that the Holocaust even happened.

Jyllands-Posten, the newspaper that first published the cartoons did issue an apology to Arab countries on Monday, shortly after the EU office incident. But with the support of the government of Denmark, the newspaper had earlier defended its actions fiercely, citing the universal right to free press, and its duty to serve democratic traditions by inspiring debate. Indeed, Anders Fogh Rasmussen, Prime Minister of Denmark, said “We are talking about an issue with fundamental significance to how democracies work.” In fact, some European pundits have placed more fault on Muslims for refusing to “accept Western standards of free speech and pluralism”. When the cartoons were originally published in 2005 they were intended to highlight and redress the unequal restrictions applied to Islamic content in European newspapers in comparison with content referring to other religions. The cartoons are also self-referential, with one character in the cartoons writing in Arabic on a blackboard “Jyllands-Posten’s journalists are a bunch of reactionary provocateurs”, and another cartoon showing a cartoonist having to work in hiding because one of the cartoons he is drawing includes an image of the Prophet Mohammad. The text around the cartoons stated:

“The modern, secular society is rejected by some Muslims. They demand a special position, insisting on special consideration of their own religious feelings. It is incompatible with contemporary democracy and freedom of speech, where you must be ready to put up with insults, mockery and ridicule. It is certainly not always equally attractive and nice to look at, and it does not mean that religious feelings should be made fun of at any price, but that is less important in this context. […] we are on our way to a slippery slope where no-one can tell how the self-censorship will end. That is why Morgenavisen Jyllands-Posten has invited members of the Danish editorial cartoonists union to draw Muhammad as they see him. […]”

However, some world leaders have elected to help defuse what could be a major social crisis in Europe and the Middle East. France’s foreign minister Philippe Douste-Blazy said that freedom of the press should be exercised “in the spirit of tolerance”, sentiments which were echoed by United Nations General Secretary Kofi Annan. Ursula Plassnik, foreign minister of Austria, said that the European community must “clearly condemn” acts which insult religion. And Hamid Karzai, president of Afghanistan, warned Europe that “any insult to the Holy Prophet (Peace Be Upon Him) is an insult to more than one billion Muslims and an act like this must never be allowed to be repeated.”

Rasmussen, in an interview with Arabic TV Al arabia, said that “…Danish government condemns any expression and any action which offends people’s religious feelings…” and also said that he does not understand why, as the cartoons were originally published in September, the situation has only truly started to deteriorate in the past week.

In Denmark, there are counter-demonstrations by moderate Muslims saying they don’t want the images banned. Munira Mirza commented that many Muslims “want to be able to say: ‘Hey we’re not children, we can handle criticism, we don’t need special protection – we’re equal’. Many don’t want to be treated as a special group, seen as worthy of more protection from criticism than other groups because of their apparent victim status.”

Religious satirist Stewart Lee commented that Jyllands-Posten had “tried to deal with a subject they don’t know enough about, and this is one of the teething problems of the cross-over of cultures in the world. I’m sure the level of offence is far greater than would have been intended.”

The director (Directeur de publication) of “France Soir“, a French national newspaper was fired in response for publishing a cartoon titled: “Yes, we have the right to (joke about) characterise God” (Oui, on a le droit de caricaturer Dieu). The “France-Soir” web site is presently offline. The cartoon is partially visible on a nouvelobs.com website.

Today, Libération, another French national newspaper, is publishing two of the “Mohammad Cartoons”. Other newspapers across France are asking for their rights to freedom of the press to be defended.

Charlie Hebdo, a well-known satirical newspaper, will publish articles to support cartoonists, freedom of speech and freedom of the press.

The general reaction in France seems to be that most citizens except religious people (Catholics, Muslims,…) are astounded by the level of anger against the “Mohammad Cartoons”.

On February 9 2006 Queensland Premier Peter Beattie gave The Courier Mail Newspaper his blessings in publishing the Jyllands-Posten Muhammad cartoons/depictions of Muhammad stating that he is a firm believer in free speech and ones freedom of expression.On the very same day he got his legal representative to write to the author of this site photoduck.com demanding he censor material relating to him and his Government.

Although many newspapers have not republished the cartoons in order to avoid backlashes, the drawings have appeared on the Internet and are being revealed at a number of Web sites and blogs. On January 30th, Fox News contributor Michelle Malkin placed the drawings on her blog, and encouraged others to do the same.